PRIZES RECEIVED

2007
– Valued by Cambridge Expertise Ltd – Cambs – UK

CRITIQUE

In the singular artwork of Musika, one is invited to give up the appearance of things to discover a more secret meaning of invisible reality.
The best way of approaching it, is silence, by offering oneself to the emotion.

We discover a dynamic intensity of her buildings, more often horizontal rhythms, generally the balance of tension between depth and surface. A suggested depth wants to be neither illusion, neither metaphor, but real and unchanging in the compositions.

By giving the same importance to illogical inspiration as with the formal and methodical structure with the intuition that the technique, in a way of unifying values, the compounding allows the artist to still find a condensed space.
The space time has gone beyond and makes it possible to overcome difficulties when it concerns idealising an image in the first intuition.

The painter manages in an unchanging emotional reality to integrate herself into her creation, by using the apparent proportion of divisions and shapes to mark the rhythm of emotions.
The memory links the past to the present and the main theme always goes through meticulous choices of matter.

The artist plays with transparencies, trying to go towards the simplicity, while trying to be fair and strong in her abstractions.
She voluntarily uses a limited pallet without neglecting the intensity of contrasts. Musika perfectly masters the linear construction: a whole work on the horizon.

A strength comes from her pictures, her painting sometimes dark and saddened, brightens up in a light that is never offensive.
Creative energy of the artist impregnates her canvas with successive layers of diluted colours; the matter is lightened to find again a happy transparency.
The flows of matter are renewed on the top of each picture but change each time in chromatic values and remain in restrained intensity.

Lines or strokes are excluded; the artist prefers the wide range for their softness. The emotion is intense and controlled.
The composition, never built for a closed space, refuses the outlines; one always seeks the limit, a wink at Rothko of a certain manner.

The presence of the artist in the development of the shape from the matter is not only instinctive; it is a meditative presence through a long practice of the pictorial technique.
In a chromatic combat, no drift or adventurous temptation is to be popular; the artist is first of all herself.

From a turbulent wave, from the hustle and bustle of life or her life, a plaintive whispering remains, looking for a vagrant soul, rich of light and hope.

A work to be seen and seen again with happiness and without moderation!